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A book of verse: Remembering producer Hima Raza
- Updated: June 25, 2016
Hima Raza’s work focuses on
post-colonialism, domestic undercurrents
KARACHI: Distinguished producer Hima Raza (1975-2003) was innate in Lahore during General Zia’s rule. It was a time when domestic review and amour was gaining movement and a flourishing significance of ideas such as globalisation and transculturalism was being realised.
When she was flourishing up, Raza — who was my father’s sister — was an zealous reader. She finished her undergraduate grade from from Kinnaird College for Women and afterwards went on to Australia for her postgraduate grade during University of New South Wales. Raza finished her PhD in England.
Initially, she taught A Levels students during her alma mater Lahore Grammar School and went on to learn artistic essay during Lahore University of Management Sciences. She taught communication and postcolonial literature.
In 2000, Memory Stains, her initial anthology was published followed by Left-Hand Speak. Her communication sundry in theme, from elementary tellurian emotions and interactions to some-more perplexing themes of post-colonialism, era gaps, domestic undercurrents and feminism.
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The attract of her communication lies in her use of a page, personification with space and a visible layout. Her verses are experimental, with an inventive use of denunciation that alternates between being intensely grave and colloquial. In her final published work, she even introduced bilingual poems — a technique she worked on entirely with superintendence from her namesake and grandmother who herself was an Urdu writer.
If we peek during her poems, we will notice she drifts behind to her mom tongue, Urdu. This is possibly an outcome of her indebtedness for Urdu poets — generally Faiz Ahmed Faiz — or her possess inner scrutiny of identity.
Her verses adopt a brevity of tinge that switches to a fluidity and density in a subsequent poem. Each hymn contains a opposite flavour, an component of surprise.
It was not only absolute difference that combined fuel to her poems. Strong, evocative imagery done her work mount out. we remember a poem that we fell in adore with as a child. It was about a lady only station with a Lahore sleet descending in her open palms. After her death, her final announcement came in a form of a brief story, Variations: A Story in Voices. It was published in And a World Changed: Contemporary Stories by Pakistani Women and reflected a opposite account technique.
The author is a medical tyro during a The Aga Khan University
Published in The Express Tribune, Jun 26th, 2016.
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